Why civility matters -- It starts with you!: developing self-awareness -- Do what you say and say what you mean: personal and professional integrity -- Good fences make great neighbors: building professional relationships -- Working in the salad bowl: the importance of teamwork -- Eliminate gossip and bullying: the bully-free workplace pledge -- You can't always get what you want: conflict resolution -- Taking it to the extreme: dealing with extreme incivility -- Paving the path to civility: the next (...) step. (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

A frenetic search for equality lies at the center of much secular and even “Christian” bioethics. In a secular world, if one does not believe in God, if this life is one's whole existence, it would seem that one could not settle for less than equal approbation, especially equality before the risks of suffering and death, which medicine promises to ameliorate. Yet, the concern for equality in health care is puzzling. After a modest level of access to health care there (...) is little difference in average life expectancy. Are concerns for equality in health care even vaguely Christian? The pursuit of Christian perfection has never been correctly equated with state-imposed egalitarianism. Furthermore, an all-encompassing, secular, egalitarian health care system may provide equal access to significantly immoral medical treatments. In contrast to secular thought, the call of Christianity is a call to holiness, not a call to an egalitarianism that superficially resonates with certain elements of Christian thought. (shrink)

A community's morality depends on the moral premises, rules of evidence, and rules of inference it acknowledges, as well as on the social structure of those in authority to rule knowledge claims in or out of a community's set of commitments. For Christians, who is an authority and who is in authority are determined by Holy Tradition, through which in the Mysteries one experiences the Holy Spirit. Because of the requirement of repentance and conversion to the message of Christ preserved (...) in the Tradition, the authority of the community must not only exclude heretical teaching but heretical communities from communion. Understanding Christian bioethics requires a focus on the content of that bioethics in terms of its social context within a right-believing, right-worshipping community. Christian bioethics should be non-ecumenical by recognizing that true moral knowledge has particular moral content, is communal, and is not fully available outside of the community of right worship. The difficulty with Roman Catholicism's understandings of bioethics lies not just in its continued inordinate accent on the role of reason apart from repentance (as well as in its defining novel doctrines), but in Roman Catholicism's not recognizing that the contemporary, post-Christian age is in good measure the consequence of its post-Vatican II failure to call for a return to the traditional pieties and asceticisms of the Fathers so that all might know rightly concerning the requirements of Christian bioethics. (shrink)

Excerpt from Essays on the Religion and Philosophy of the Hindus Called by the indulgence of this meeting to a chair, which I could have wished to have seen more worthily filled, upon so interesting an occasion as the first general meeting of a Society instituted for the important purpose of the advancement of knowledge in relation to Asia, I shall, with your permission, detain you a little from the special business of the day, while I draw your more particular (...) attention to the objects of the Institution, for the furtherance of which we are now assembled. To those countries of Asia, in which civilization may be justly considered to have had its origin, or to have attained its earliest growth, the rest of the civilized world owes a large debt of gratitude, which it cannot but be solicitous to repay; and England, as most advanced in refinement, is, for that very cause, the most beholden; and, by acquisition of dominion in the East, is bound by a yet closer tie. As Englishmen, we participate in the earnest wish, that this duty may be fulfilled, and that obligation requited; and we share in the anxious desire of contributing to such a happy result, by promoting an interchange of benefits, and returning in an improved state that which was received in a ruder form. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)